Kam Black Film List

2005 has certainly turned out to be a breakout year for Terrence Howard. The versatile

thespian received rave reviews for his powerful performances in a half-dozen feature

films, most notably, Crash, Hustle & Flow, Animal and Four Brothers.

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Blacktrospective 2005

A Look Back at the Best (and Worst) in Black Cinema

By Kam Williams

2004 may have been the Year of the Foxx (Jamie, that is) but 2005 has certainly turned out to be a breakout year for Terrence Howard. The versatile thespian received rave reviews for his powerful performances in a half-dozen feature films, most notably, Crash, Hustle & Flow, Animal and Four Brothers.

He also appeared in Get Rich or Die Tryin and The Salon, and a couple of made-for-TV movies, Lackawanna Blues and Their Eyes Were Watching God. Just like Jamie, he has a shot at landing Oscar nominations in both the lead (for Hustle & Flow) and supporting (for Crash) actor categories.

But Terrence wasnt the only brother or sister in the industry to distinguish him or herself, so for better or worse. So without further ado, in the interest of celebrating excellence and of eradicating mediocrity in movies, permit me to present Blacktrospective 2005, an annual report card which shines a light on black overachievement and underachievement in cinema.

In nine grim metaphorical sketches, Bell, the black former Harvard law professor who made headlines recently for his one-man protest against the school’s hiring policies, hammers home his controversial theme that white racism is a permanent, indestructible component of our society. Bell’s fantasies are often dire and apocalyptic: a new Atlantis rises from the ocean depths, sparking a mass emigration of blacks; white resistance to affirmative action softens following an explosion that kills Harvard’s president and all of the school’s black professors; intergalactic space invaders promise the U.S. President that they will clean up the environment and deliver tons of gold, but in exchange, the bartering aliens take all African Americans back to their planet. Other pieces deal with black-white romance, a taxi ride through Harlem and job discrimination.

Civil rights lawyer Geneva Crenshaw, the heroine of Bell’s And We Are Not Saved (1987), is back in some of these ominous allegories, which speak from the depths of anger and despair. Bell now teaches at New York University Law School.Publishers Weekly

Time senior correspondent Michael Grunwald tells the secret history of the stimulus bill, the purest distillation of Change We Can Believe In, a microcosm of Obamas policy successes and political failures. Though it is reviled by the right and rejected by the left, it really is a new New Deal, larger than FDRs and just as transformative. It prevented an imminent depression, while jump-starting Obamas long-term agenda. The stimulus is pouring $90 billion into clean energy, reinventing the way America is powered and fueled; it includes unprecedented investments in renewables, efficiency, electric cars, a smarter grid, cleaner coal, and more. Its carrying health care into the digital era. Its Race to the Top initiative may be the boldest education reform in U.S. history. It produced the biggest middle-class tax cuts in a generation, a broadband initiative reminiscent of rural electrification, and an overhaul of the New Deals unemployment insurance system. Its revamping the way government addresses homelessness, fixes infrastructure, and spends money.

Grunwald reveals how Republicans have obscured these achievements through obstruction and distortion. The stimulus launched a genuine national comeback. It also saved millions of jobs, while creating legacies that could rival the Hoover Dam: the worlds largest wind farm, a new U.S. battery industry, a new high-speed rail network, the worlds highest-speed Internet network. Its main legacy, like the New Deals, will be change.

Pictures and Progress explores how, during the nineteenth century and the early twentieth, prominent African American intellectuals and activists understood photography’s power to shape perceptions about race and employed the new medium in their quest for social and political justice. They sought both to counter widely circulating racist imagery and to use self-representation as a means of empowerment. In this collection of essays, scholars from various disciplines consider figures including Frederick Douglass, Sojourner Truth, Ida B. Wells, Paul Laurence Dunbar, and W. E. B. Du Bois as important and innovative theorists and practitioners of photography. In addition, brief interpretive essays, or “snapshots,” highlight and analyze the work of four early African American photographers. Featuring more than seventy images, Pictures and Progress brings to light the wide-ranging practices of early African American photography, as well as the effects of photography on racialized thinking.

Its the Middle Class, Stupid! confirms what we have all suspected: Washington and Wall Street have really screwed things up for the average American. Work has been devalued. Education costs are out of sight. Effort and ambition have never been so scantily rewarded. Political guru James Carville and pollster extraordinaire Stan Greenberg argue that our political parties must admit their failures and the electorate must reclaim its voice, because taking on the wealthy and the privileged is not class warfareit is a matter of survival. Told in the alternating voices of these two top political strategists, Its the Middle Class, Stupid! provides eye-opening and provocative arguments on where our governmentincluding the White Househas gone wrong, and what voters can do about it.

Controversial and outspoken, authoritative and shrewd, Its the Middle Class, Stupid! is destined to make waves during the 2012 presidential campaign, and will set the agenda for legislative battles and political dust-ups during the next administration.

This book explodes several myths: that selling sex is completely different from any other kind of work, that migrants who sell sex are passive victims and that the multitude of people out to save them are without self-interest. Laura Agustín makes a passionate case against these stereotypes, arguing that the label ‘trafficked’ does not accurately describe migrants’ lives and that the ‘rescue industry’ serves to disempower them. Based on extensive research amongst both migrants who sell sex and social helpers, Sex at the Margins provides a radically different analysis. Frequently, says Agustin, migrants make rational choices to travel and work in the sex industry, and although they are treated like a marginalised group they form part of the dynamic global economy. Both powerful and controversial, this book is essential reading for all those who want to understand the increasingly important relationship between sex markets, migration and the desire for social justice.

“Sex at the Margins rips apart distinctions between migrants, service work and sexual labour and reveals the utter complexity of the contemporary sex industry. This book is set to be a trailblazer in the study of sexuality.”Lisa Adkins, University of London